All Quotes

"Paresis, as it is generally called in preference to the old GPI or general paralysis of the insane, is characterized by symptoms of bewildering variety, confirming the description of syphilis as the Great Imitator or, because of this very wealth of its ultimate manifestations, the Aristocrat of Diseases. Paresis involves a meningoencephalitis which marks its onset by personality changes, mild at first but growing steadily worse. There is irritability, failure of memory and judgement, insomnia, slovenliness, aggression, confusion, delusion, manic depression, epileptiform convulsion, slurred speech, incontinence, emaciation, sensational psychosis, finally death. The act of careless bohemian love, anonymous, quick and uncondomized, is proved not to have been worth the trouble or money....."

"Dr Williams’s book is about a number of nineteenth-century French writers who caught syphilis and probably died of paresis. They are Baudelaire, Jules de Goncourt, Flaubert, Guy de Maupassant and Daudet. A similar book could probably be written about nineteenth-century British writers, including such unlikely victims of syphilis as John Keats and Edward Lear. People were not so frightened of the disease as we are. Few physicians saw the connection between cerebral degeneration and the primary chancre: when the secondary stage of the infection had healed, it was generally assumed that everything was over and lightning would not strike the tree again. This was Baudelaire’s belief. One could even rejoice at picking up the pox: it was not merely an inoculation; it advertised one’s virility to the world...."

"Williams’s starting point is the immense pessimism of nineteenth-century men of letters....One can explain this pessimism to some extent in terms of various social and political failures, especially in France....But Dr Williams would rather look at the physically examinable, and he finds in the author’s disease the roots of what his book cover calls, with an admirable eye on the market, the horror of life...."

"The most sensational of all the sick literary lives was that of Maupassant, who died mad at forty-three and whose hatred of God, man and nature - manifested in literary productions which give us immense pleasure: how is that to be explained? - spring from a kind of mother fixation as well as a terror of the cold. He was a bull of a man much given to boats and riparian dalliance, but he had bad circulation. He had other things too, including a Chinese-style priapism which enabled him to copulate, usually in public, six times in a row, the secret being his failure to detumesce. This, of course, like acne and the common cold, can be a symptom of tertiary syphilis, which Maupassant certainly had."

"To be left alone is the most precious thing one can ask of the modern world."

"In Lady Chatterley’s Lover we meet the ancient honest word fuck. Lawrence believed that it could be cleansed of its centuries of accumulated filth and stalk nakedly through his pages like Connie and Mellors themselves, standing for an act of love which had been too long swaddled in euphemisms. There are many people who cherish the fallacy of a golden age of Anglo-Saxon candour in which lovers invited each other to fuck or be fucked….This was never so. The word has always been taboo. You will find no Anglo-Saxon document which contains it. True, it is old, cognate with the German ficken, but it stands for a brutal act unsuitable for the marriage bed. It connotes impersonality and aggression. When Dr Johnson said that drinking and fucking were the only things worth doing…he was referring to getting drunk and going to brothels. A man can fuck a whore but, unless his wife is a whore, he cannot fuck his wife….fuck is a…dysphemism….there is no love in it. Lawrence made an aesthetic rather than a moral gaffe…."

"We know what goes on in the act of love, and those of us who are writers despair of ever finding verbal equivalents for the pain and pleasure of excitation fulfilled in what Rabelais’s translator Urquhart called ‘venerean ecstasy’. A mechanical description of the act tells us nothing, any more than a scientifically accurate account of mastication will convey the flavour of roast duck."

"An Egyptian priest....plays up the mystery of language to enhance his own power."

"Languages never stand still. Modern spelling crystallises lost pronunciations: the visual never quite catches up with the aural."

"The British…used to regard foreigners as either a comic turn or a sexual menace. To learn a European language…was, at best, to seek to acquire a sort of girls’-finishing-school ornament, at worst, to capitulate feebly to the enemy."

"It is generally felt that the educated man or woman should be able to read Dante, Goethe, Baudelaire, Lorca in the original - with, anyway, the crutch of a translation."

"‘Ass’ for ‘arse’ does not seem to represent a willingness, on British lines, to make the word arhotic; rather it is a puritanical substitution which forces a real ass to become a donkey or burro."

"Any kind of discourse which has a flavour of the British ruling class, so powerful is ancestral memory, must be strenuously avoided."

"...Australian English may be thought of as a kind of fossilised Cockney of the Dickensian era."

"The consciousness in [Australia and New Zealand] of the elevation of a substandard dialect into a national tongue has been responsible for a mixture of attitudes to citizens of the mother country - inferiority, defiance, contempt. A blending of the first two may be responsible for the upward intonation pattern of answers, more appropriate to questions….slang is of its nature defiant. It is also demotic….But the ruling class of Australia is itself demotic."

"…slang…the home-made language of the ruled, not the rulers, the acted upon, the used, the used up. It is demotic poetry emerging in flashes of ironic insight."

"If Shakespeare required a word and had not met it in civilised discourse, he unhesitatingly made it up."

"All art preserves mysteries which aesthetic philosophers tackle in vain."

"Well before James Joyce, Conrad was forging a vocabulary for the contemporary soul. This book grants us another opportunity to brood over a notable literary martyrdom. [review in the London Independent newspaper of Joseph Conrad: A Biography by Jeffrey Meyers]"

"In a sense [Lawrence] is the patron saint of all writers who have never had an Oxford or Cambridge education who are somewhat despised by those who have. ['The Rage of D.H. Lawrence', The South Bank Show (TV), 1985]"

"I had always had grave doubts about Eliot's taste and, indeed, intelligence. [T.S. Eliot Memorial Lecture, broadcast on BBC Radio 3, 1980]"

"He stayed in no one place very long, but he usually managed to absorb something of the atmosphere of each town, village or rubber estate he visited, and he always made quick contact with the local residents. These residents were invariably Europeans - planters, colonial officials, businessmen, or just men living in exile to escape from trouble or sadness at home - and there is little evidence that Maugham gained, or wished to gain, any direct knowledge of the lives and customs of the native peoples of the East. This must be disappointing to present-day Malay and Indian and Chinese and Eurasian readers of his stories, but we have to remember that (apart from the fact that Maugham had no time to learn Malay or Chinese or Tamil) the Western attitude to the Far East was very different in Maugham's time from what it is today. [Introduction to Maugham's Malaysian Stories (1969)]"

"The whole of English Lit. at the moment is being written by Anthony Burgess. He reviews all new books except those by himself, and these latter include such jeux d'esprit as A Shorter Finnegans Wake and so on. Do you know him? He must be a kind of Batman of contemporary letters. I hope he doesn't take to poetry."

"I am late with the new Doris Lessing [The Golden Notebook]. I make no apology: it has taken me a long time to read (568 pages of close print) and at the end of it all I feel cheated. This talented writer has attempted an experiment which has failed, essayed a scale which is beyond her....This is a book of revolt – political, social, sexual. Anna [the heroine] became a Communist in South Africa, seeing in Communism a "moral energy" not to be found in other creeds or in the long-entrenched privileged class. Anna is also concerned with being a "free woman" – rebelling against traditional male dominance – and with achieving maximal erotic fulfilment....There is no doubt about the great moral virtues here – intelligence, honesty, integrity – but it is the aesthetic virtues that seem to be lacking. The characters do not really interest us: when we have dialogue it is strangely unnatural … Mrs Lessing’s old singleness of vision, her strength as a writer, is not to be found here. [Review in the English provincial newspaper the Yorkshire Post, 1962]"

"There's no doubt that there is a homosexual mafia. Indeed, we had a homosexual Prime Minister, Edward Heath. He's been very clever about it. He's been known to accost little boys. It may have been hushed up. [Remark quoted in Roger Lewis, Anthony Burgess (2002), p. 184]"

"About the eroticism of Anthony Burgess, it is interesting to notice that we never find ‘penetrative Eros’ either in twosome, threesome or a roomful of people. Anthony is, more than reticent, endowed with what used to be called ‘Christian modesty’ (which is also, Muslim, Jewish Orthodox Fundamentalism and Hindu, be it said). The grosser form of the sexual act is, very effectively, either - and this is more often the case - suggested by sequences of rhythmical images, as in Tremor of Intent when Miss Devi’s seduces Rupert Hillier in his ship cabine and her initial seduction followed by his response are evoked in a splendidly rhythmical crescendo (I’ve heard him read the pages aloud during a lecture given in Oklahoma or Denver), or, funnily and matter-of-factly, in a foreign language, as when, in a case of rape brought by Malay assistant against a small Chinese shopkeeper, her employer, while the prosecution goes on about "had he done this and he done that, and had there been any attempt to, shall we say, force his attention on her, and had he perhaps been importunate in demanding her favours"… The interpreter, having listened very patiently, just asks the girl, ‘Sudah masok?’ and she replies, quick as a flash, ‘Sudah.’"

"Burgess's tarty charlatanry was central to his genius."

"Evidently, there is a political element in the attack on The Satanic Verses which has killed and injured good if obstreperous Muslims in Islamabad, though it may be dangerously blasphemous to suggest it. The Ayatollah Khomeini is probably within his self-elected rights in calling for the assassination of Salman Rushdie, or of anyone else for that matter, on his own holy ground. To order outraged sons of the Prophet to kill him, and the directors of Penguin Books, on British soil is tantamount to a jihad. It is a declaration of war on citizens of a free country, and as such it is a political act. It has to be countered by an equally forthright, if less murderous, declaration of defiance....I do not think that even our British Muslims will be eager to read that great vindication of free speech, which is John Milton’s Areopagitica. Oliver Cromwell’s Republic proposed muzzling the press, and Milton replied by saying, in effect, that the truth must declare itself by battling with falsehood in the dust and heat....I gain the impression that few of the protesting Muslims in Britain know directly what they are protesting against. Their Imams have told them that Mr Rushdie has published a blasphemous book and must be punished. They respond with sheeplike docility and wolflike aggression. They forgot what Nazis did to books … they shame a free country by denying free expression through the vindictive agency of bonfires....If they do not like secular society, they must fly to the arms of the Ayatollah or some other self-righteous guardian of strict Islamic morality. ['Islam's Gangster Tactics', in the London Independent newspaper, 1989]"

"I remember an old proverb. It says that youth thinks itself wise just as drunk men think themselves sober. Youth is not wise! Youth knows nothing about life! Youth knows nothing about anything except for massive cliches which for the most part through the media of pop songs are just foisted on them by middle-age entrepreneurs and exploiters who should know better. When we start thinking that pop music is close to God, then we'll think pop music is aesthetically better than it is. And it's only the aesthetic value of pop music that we're really concerned. I mean the only way we can judge Wagner or Beethoven or any other composer is aesthetically. We don't regard Wagner or Beethoven nor Shakespeare or Milton as great teachers. When we start claiming for Lennon or McCartney or Maharishi or any other of these pop prophets the ability to transport us to a region where God becomes manifest then I see red. We're satisfied with our little long playing record, ten pop numbers or thereabouts a side. This is great art, we've been told this by the great pundits of our age. And in consequence why should we bother to learn? There's nothing more delightful than to be told: "You don't have to learn, my boy. There's nothing in it. Modern art? There's nothing in it." When you're told these things you sit down with a sigh of relief: "Thank God I don't have to learn, I don't have to travel, I don't have to exert myself in the slightest. I am what I am. Youth is youth. Pop is pop. There's no need to progress. There's no need to do anything. Let us sit down, smoke our marijuana (an admirable thing in itself but not the end of anything), let us listen to our records and life has become a single moment. And the single moment is eternity. We're with God. Finis!"

"At various universities, I've seen black men who are treated very indulgently, over-indulgently. They are allowed to do what they want, take what they want, drop what they want. I met one young man in Philadelphia, a young black, who wanted to learn music. But he wouldn't learn music from whites because it was 'tainted' music. Well, this is bloody ridiculous...[remark made in 1971, cited in Roger Lewis, Anthony Burgess (2002), p. 152]"

"[A] creation of Kubrick....a lesser English novelist until Kubrick came along with that film....the book was more or less forgotten until Kubrick made the film....Thanks to the film [Burgess was] transformed into a personality."

"Nothing like the sun and the Enderby books prove that Burgess is as clever as he seems. His utopian satires, of which 1985 is yet another, mainly just seem clever. At a generous estimate there are half a dozen ideas in each of them."

"Burgess' chief themes...a Catholic sense of sin and a social sense of disaster, a fascination with the polymathic and polyglot artist and the strange and often gross and unbidden sources of art. Nor had Burgess taught languages or studied Joyce for nothing, though where Joyce sought the final consolation of form he sought those of prolixity; he was also a very effective literary critic, obsessed with language and punning....was happy to describe himself as a craftsman and not an aesthetician of writing; he is a Joycean without the formalism or indeed the restraint....inventive prolixity...gifts of linguistic and technical discovery; Burgess is a great postmodern storehouse of contemporary writing, opening the modern plurality of languages, discourses and codes for our use."

"Though in life Anthony Burgess was amiable, generous and far less self-loving than most writers, I have been disturbed, in the last few years, to read in the press that he did not think himself sufficiently admired by the literary world. It is true, of course, that he had the good fortune not to be hit, as it were, by the Swedes, but surely he was much admired and appreciated by the appreciated and admired."

"The gull sees farthest who flies highest."

"Don’t believe what your eyes are telling you. All they show is limitation. Look with your understanding."

"But the speed was power, and the speed was joy, and the speed was pure beauty."

"If our friendship depends on things like space and time, then when we finally overcome space and time, we've destroyed our own brotherhood! But overcome space, and all we have left is Here. Overcome time, and all we have left is Now. And in the middle of Here and Now, don't you think that we might see each other once or twice?"

"The gulls who scorn perfection for the sake of travel go nowhere, slowly. Those who put aside travel for the sake of perfection go anywhere, instantly."

"You will begin to touch heaven, Jonathan, in the moment that you touch perfect speed. And that isn't flying a thousand miles an hour, or a million, or flying at the speed of light. Because any number is a limit, and perfection doesn't have limits. Perfect speed, my son, is being there."

"The only true law is that which leads to freedom," Jonathan said. "There is no other."

"11. The Master answered and said "Once there lived a village of creatures along the bottom of a great crystal river.12. "The current of the river swept silently over them all — young and old, rich and poor, good and evil, the current going its own way, knowing only its own crystal self.13. "Each creature in its own manner clung tightly to the twigs and rocks of the river bottom, for clinging was their way of life, and resisting the current what each had learned from birth.14. "But one creature said at last, 'I am tired of clinging. Though I cannot see it with my eyes, I trust that the current knows where it is going. I shall let go and let it take me where it will. Clinging, I shall die of boredom.'15. "The other creatures laughed and said, 'Fool! Let go, and that current you worship will throw you tumbled and smashed against the rocks, and you will die quicker than boredom!'16. "But the one heeded them not, and taking a breath did let go, and at once was tumbled and smashed by the current across the rocks.17. "Yet in time, as the creature refused to cling again, the current lifted him free from the bottom, and he was bruised and hurt no more.18. "And the creatures downstream, to whom he was a stranger, cried 'See a miracle! A creature like ourselves, yet he flies! See the Messiah come to save us all!'19. "And the one carried in the current said, "I am no more messiah than you. The river delights to lift us free, if only we dare let go. Our true work is this voyage, this adventure."20. "But they cried the more, 'Savior!' all the while clinging to the rocks, and when they looked again he was gone, and they were left alone making legends of a Savior.""

"26. And [the Messiah] said unto them, "If a man told God that he wanted most of all to help the suffering world, no matter the price to himself, and God answered and told him what he must do, should the man do as he is told?"27. "Of course, Master!" cried the many. "It should be pleasure for him to suffer the tortures of hell itself, should God ask it!"28. "No matter what those tortures, no matter how difficult the task?"29. "Honor to be hanged, glory to be nailed to a tree and burned, if so be that God has asked," said they.30. "And what would you do," the Master said unto the multitude, "if God spoke directly to your face and said, 'I COMMAND THAT YOU BE HAPPY IN THE WORLD, AS LONG AS YOU LIVE.' What would you do then?"31. And the multitude was silent, not a voice, not a sound was heard upon the hillsides, across the valleys where they stood."

"A cloud does not know why it moves in just such a direction and at such a speed, it feels an impulsion... this is the place to go now. But the sky knows the reason and the patterns behind all clouds, and you will know, too, when you lift yourself high enough to see beyond horizons."

"Argue for your limitations, and sure enough, they're yours."

"Don't be dismayed at goodbyes. A farewell is necessary before you can meet again. And meeting again, after moments or lifetimes, is certain for those who are friends."

"Every person, all the events of your life, are there because you have drawn them there. What you choose to do with them is up to you."

"Everything in this book may be wrong."

"Here is a test to find whether your mission on earth is finished: If you're alive, it isn't."

"If you really want to remove a cloud from your life, you do not make a big production out of it, you just relax and remove it from your thinking. That's all there is to it."